.."One must cut this [Plate] according to the number apropriate for the Planets, that is with six Angles: the Character should be engraved using a new and pure iron or steel instrument on the day of Venus in the third or tenth hour of the night, counted from the sundown.

"Afterwards one wraps it in new linen and buries it likewise at the aforementioned time of the day of the New Moon, at night next to a flowing body of water, then unburies it on the following night at the hour of Venus, and preserve it for the opportunity of the work"..

.."One takes the Horn of a living Bull, then one takes Vitriol dissolved in vinegar, with which one should wash and purify the Horn, after which one carves the Characters as they are represented in the following sketch, into either side of the horn with the aforementionned Steel Instruments. One must makes sure that the entire preparation of the Horn, including the time it is torn off from the bull, must also be in the times,day and hours of Venus, just as was done in preparing the Seal.Afterwards, one envelops it in smoke, wraps it in linen, and buries it together with the Seal of Venus, then unburies it again and preserves it for later use"...."On prendra la corne d'un taureau vivant, puis on prendra du Vinaigre - Vitriol avec lequel on nettoyera la Corne, après quoi on gravera les Characteres comme ils sont représentés dans les dessins, chaque face de la Corne gravée avec les outils sus mentionnés. On prendra soin à veiller pour la fabrication de la Corne, d'observer l'heure à laquelle la Corne sera retirée du Taureau, (au jours et à l'heure de Vénus), comme pour la préparation du Sceau. Après quoi, on l'encensera , puis on l'enroulera dans un tissu de lin neuf , et on l'enterrera avec le Sceau de Vénus, puis finalement, on déterrera et on le préservera pour une utilisation ultérieure"..

From JWMT N.13 Vol 2 - Teresa Burns & Vincent Bridges - The Little Book of Black Venus – Part Two Olympic Spirits, the Cult of the Dark Goddess, and the Seal of Ameth.

Figure 1 – Seal of Anael Note how the central image on t he right seal resembles very strongly a ritual cup and blade, or chalice and spear, connected by the ancient symbol for conjunction or union. This point s directly toward a goddess based and pagan influenced tradition for the sigils, and the ritual Venusian direction. Note also the use of the ancient astrological sign for Venus, which is also the Egyptian anhk , a symbol for life it self .

Figure 2 – Black Venus Planetary Seals with Symbol highlighted In the other planetary seals, as we might rightfully infer them to be, we also see the same use of t he anhk or Venus symbol in four of the six. But we have very few obvious clues with which to make any sort of planetary attribution. The first seal,Mogrip, does suggest , with a wave like motion, the sea or the tides, and therefore the Moon. The next one, Amabosar, has something that resembles the horns of Aries, so we might suppose this one to be Mars. But there the overt clues fall apart , and the student is once again left to his devices. However, there are clues. The clever student need have looked no further than the Arbatel of Magick ’s Olympic spirit s. Here we find three obvious and direct connections, in the seal of the Sun, Mercury and t he Moon. The rest are close, and with the use of the basic structure, we can arrive at an attribution.

From this, we can discern a very close connection between the Olympic spirit s of the Arbatel and the Anael/Venusian spirits of the Black Venus .We might even wonder which came f irst , if we considered the date on the manuscript as much of a blind as the flawed Solomonic magick. This might have been enough of the right question fir a student to be taken into the inner circle and of fered a lesson or two . These Olympic Spirits and their Black Venus versions are directly related t o the planetary sigils of the seal of Truth, indicating how important Dee felt them to be. So just how did these planetary spirits became such an important part of Dee’s magickal background ? By looking closely at Dee’s activities during the period before the Monad , we can come to so me reasonable conclusions ab ut why Dee was so interested in the Olympic spirits and so me earlier version of the Horn of Venus of which we have no record. And perhaps, how it gave him the insight required to conceive the Monad , and to discover the concept of higher mathematical dimensions.

.."One takes green Wax, to which one mixes soot, makes from this round pieces and, with steel instruments, cuts into them the Seal of that Spirit one wishes to invoke. Let the Seal be consecrated with smoke in the same way as the other aforementioned in the time, by the day and in the hour of Venus, but do not bury them; rather, preserve them for the work"..